n MALPASO DANCE COMPANY OF HAVANA Chicago debut.BSDIBOEtQN DESIGN TOP 5 “…elegant and bold, inventive and joyful.” –Times Union 1 Monadnock: Job Floris. Graham Foundation. Dutch architect Job Floris, The Dance Center’s presentation of Malpaso Dance Company is funded, in part, by FOR TICKETS CALL 312-369-8330 of firm Monadnock, comes to Chicago to the New England Foundation for the Arts and the Elizabeth F. Cheney Foundation. discuss his firm's participation in the Graham OR VISIT COLUM.EDU/DANCECENTERPRESENTS exhibition, \"Spaces without drama or surface Above: Malpaso dancers in 24 Hours and a Dog. Photo by Robert Torres. is an illusion, but so is depth.\" March 30 5*$,&544&/*034 2 Tod Williams and Billie Tsien March 2017 Newcity Lecture. IIT College of Architecture, Crown Hall. Will the NY-based architecture powerhouse drop hints of their plans for the Obama Presidential Library at this IIT Dean's Lecture? March 29 3 FLEUROTICA. Garfield Park Conservatory. The annual Chicago Flower Show will kick off with a flower-themed fashion fundraiser. March 17 4 International Home and Housewares Show. McCormick Center. More than 2,100 exhibitors display their wares over four days at McCormick Center. March 18-21 5 Next Generation of Environmental Professionals Present Trivia Night 2.0. Coalition: Energy. A smorgasbord of leading energy-resilience agencies (Delta Institute, Rebuilding Exchange, etc.) team up for an evening of beer, trivia and exchange of sustainable trends. March 9 51
&DiDnirningking DINING & DRINKING TOP 5Newcity MARCH 2017Devouring Devon 1 Listen to Music, Bhel Puri, Kamdar Plaza/Photo: Anupy SinglaAn Immigrant Insider’s Guide to Eating Indian in Chicago Build a Cocktail. Bohemian House. Bliss out to By Anupy Singla acoustic tunes from Paolo Apuli, chow down on sweet and My parents immigrated to the United my first stop is the juice bar in the front corner savory brunch bites, and for States in the late 1970s. I was three years of Fresh Farms International Market (2626 $4.50, create a personalized old. West Devon). Enter and veer to the left. Kumar, warm cocktail with coffee, tea, who usually handles the bar, offers what he hooch, chocolate, just like in As we began our new life in America, the items calls, \"Kumar’s Green Go Juice,\" a power- Czechoslovakia. March 4 we missed most were cooking ingredients: house of greens that includes bitter melon—a staples like turmeric powder, cumin seeds and wrinkled green vine-grown vegetable touted in 2 Hewn After Hours. basmati rice. We often relied on visits to India South Asia for its ability to fight diabetes. I Hewn, Evanston. to fulfill our needs, packing our suitcases to always have them add fresh turmeric and Hewn and Few talk about how the brim with bright yellow and red packets of ginger. A large glass is $5. they got started making bread fragrant spices and legumes. and booze, respectively, while Kamdar Plaza Hewn makes and serves baked These days, it’s much easier to find these After three decades in business, Kamdar Plaza goods using Few liquors, ingredients and then some, with bustling (2646 West Devon) is a staple snack destina- followed by a dinner and more corridors in most major cities dedicated to not tion among the South Asian community in talk. ($75, includes class, only Indian, Pakistani and other South Asian Chicago. Their top seller is a Gujarati snack beverage, dinner, dessert) ingredients, but also snacks and prepared called khaman dhokla, a steamed savory cake March 8. foods and, of course, restaurants. Devon made from chickpea flour and garnished with Avenue in West Rogers Park is such a corridor. green chiles and cilantro. Also popular is bhel 3 Guinness St. Patrick’s Visit on a weekend and you’ll have a good puri, a savory mix of puffed rice, onion, cilantro Day Bash. Howells & sense of what traveling to India is like—bus- and chutney. If you want to try a little bit of Hood. This event celebrates St. tling, jostling, noisy and plain fun. everything, go for the thali, a large stainless Patrick’s Day and starts at 9am. steel platter with small amounts of various We think you get the picture. I head there at least once every two weeks for vegetables, pickles, bread and two desserts. March 11. fresh groceries, dinner and weekend brunch At $12.99 it’s a bargain, and large enough to when I’m too tired to cook, and for essentials feed two. What I love most about Kamdar is 4 Cuban Culinary Tour for our various prayer ceremonies and festivals. that with even one day’s notice, they will make with Dan Goldberg and trays for your next party, even packaging the Andrea Kuhn. Kendall College. Here are some of my favorite spots. Just be bhel puri ingredients separately so you can mix Authors of “Cuba! Recipes and sure to avoid Devon on Tuesday, when most it right before serving without it getting soggy. Stories from the Cuban Kitchen” restaurants and shops are closed. present to the Culinary Shah Jalal Grocery Historians about the newly Fresh Farms International Next door to Kamdar Plaza is a storefront so opened island off the coast of Market Juice Bar unassuming, most just walk by. Head inside Florida. March 11. No matter the day, time or reason for my visit, and you’ll find a long, very narrow space 5 Crepe Dinner Series. Floriole. Owners Sandra and Mathieu Holl kick off their quarterly series of crepe-centric dinners. Yes, there will be Suzette. March 2452
dominated by large, white coolers. At Shah clay fixtures with charcoal at the bottom that Dosa/Photo: Anupy SinglaJalal (2634 West Devon), they specialize in sear the skewered and marinated meat toseafood from the waters off the coast of perfection. You can order tandoori chicken, Naan (2437 West Devon) specializes in thisBangladesh and the Indian Ocean. You’ll not fish, goat and beef seekh kababs. dish. Head in any weekend and they will makeonly find unique fish like rohu, katla and mrigal, this mix of rice, meat and spices in a traditionalsold whole, but you can also get your standard Sukhadia’s clay pot that locks in all the flavors. You cantilapia and salmon fillets. Go on a Friday for Sukhadia’s (2559 West Devon) is well known pick from chicken, lamb and vegetarian.fresh halal meat including goat, chicken for its extensive offerings of sweets, especiallyand lamb. for religious holidays including the Hindu New Patel's Café Year, Diwali. Look to the left when you walk in Patel's Café (2600 West Devon), a snack andAnnapurna and you’ll see why my girls and I love this spot: juice spot, makes summer weekends livelyWhenever I take my kids to Devon for a quick homemade snacks. This is the place to get with fresh sugar cane juice, just like on themeal, we typically head to Annapurna (2608 everything from roasted peas and lentils, streets of India. They even bring in someone toWest Devon), where they have something for spiced nuts, and our favorite, chakri, a spiced make fresh paan, a unique combination ofeveryone. You order up front, wait for your fried snack made of rice flour. Try some of betel leaf, areca nut and other spices thatnumber to be called, and sit where you like. these and you may never go back to snacking South Asians chew often after meals. AThe vegetarian menu includes everything from on potato chips. somewhat acquired taste, it's definitely worthsnacks to South Indian specialties and even the experience!North Indian staples like dal makhani and Mysore Woodlands and Udupi Palacemalai kofta. What my family and I love most When you’re in the mood for South Indianabout this spot is how true the taste of the food, Mysore Woodlands (2548 West Devon)food is to what we actually cook at home. and Udupi Palace (2543 West Devon)It’s Indian food minus the heavy cream and oil immediately come to mind. Their dosa, afound in many other restaurants. With your fermented crepe made of rice and lentils, ismeal, do as we locals do and ask for roti, paper thin, and their idli, a steamed ricethe flatbread most Indians make at home. dumpling is soft and steamy. You can’t goIt’s delicious! wrong stopping in for South Indian cuisine in either spot.Khan B.B.Q.If you’re in the mood for South Asian grilled Naanfare, then Khan B.B.Q. (2401 West Devon) is Biryani is the quintessential one pot meal forone spot you don’t want to miss. The large South Asians and Hyderabadi Biryani isopen kitchen is fitted with two tandoori ovens; especially well known for its balance of spices.A classic Broadway hit comes to Chicago! Starring RICHARD E. GRANT and LISA O’HARE LERNER & LOEWE APRIL 28 – MAY 21 Tickets from $29 | Special discounts for groups of 10 or more10% OFF select opera and musical performances with promo code NEWCITY LYRICOPERA.ORG | 312.827.5600 MARCH 2017 NewcityMY FAIR LADY Book and Lyrics by Alan Jay Lerner. Music by Frederick Loewe. Adapted PROMO VALID ON 4/28–5/6 PERFORMANCES OF MY FAIR LADY.from George Bernard Shaw's play and Gabriel Pascal's motion picture Pygmalion. Original Production directed by PROMO RESTRICTIONS APPLY. VISIT LYRICOPERA.ORG/PROMO.Moss Hart. Production created by the Théâtre du Châtelet, Paris, in coproduction with the State Academic Mariinsky Theatre.PRODUCTION SPONSORSTHE NEGAUNEE ANONYMOUS MRS. HERBERT MR. AND MRS. THE JACOB AND ROBERT S. AND MR. AND MRS. J. LIZ A. VANCE WILLIAM C. VANCE ROSALINE COHNFOUNDATION DONOR FOUNDATION SUSAN E. MORRISON CHRISTOPHER REYES STIFFEL 53
Film Dreamlike Raptures In the Realm of the \"New Sensory Cinema\" with Filmmaker Melika Bass By Ray Pride Chicago filmmakers tend to be more effusive conversationally genre to propose new cinematic forms.” Just scanning all the titles,Newcity March 2017 Béatrice Dalle in Claire Denis’ “Trouble Every Day” about films and other filmmakers and cultural history than even movie I say to Bass, I’d throw in “dreamlike rapture,” where these movies reviewers or the most besotted latter-day filmgoers: it’s as if after hours become movie-movie while creating its own consciousness, drifting and days and months with heads down on a project, catching the scent narratively while remaining obdurately specific, physically concrete. of someone else’s flower garden is blessed relief. Local stalwart Melika You can’t pin it down but there’s a real/dreamt world slip-sliding before Bass, who teaches at the School of the Art Institute of Chicago, will be you. Textures, dreaminess…and raptures, too. In a classical video store, showing “Devotional Animals,” a survey of some of the most recent of I could see the label on the shelf: “THIS IS THE COOL SHIT.” her singular, simmering work at the Siskel Film Center “Conversations at the Edge” on April 6 and three of her short films are newly available “Yes! Exactly!” she says. “Dreamlike rapture is key for these movies. The on the Fandor streaming service. cinematic tools of texture being used in all of them—light, color, physical surface, sonic detail, motion—these all help the cinematic But Bass is also in the midst of a compelling series of fourteen movies hypnosis to function. This is not new at all to cinema; the beginnings of running through May 9 at Siskel, with each film playing twice, under the early cinema were linked to magic, sensation and spectacle. These are rubric “New Sensory Cinema.” Each film is essential viewing in its own fourteen innovative contemporary narrative filmmakers who are making right, dreamy and tactile, provocative and intoxicating, including Athina up their own kind of storytelling and offering what I think are unique Rachel Tsangari’s “Attenberg” (2010), Eliza Hittman’s “It Felt Like Love” moviegoing experiences, using this sensory immersion, rather than (2013), Roy Andersson’s “You The Living” (2007), Lucrecia Martel’s traditional plots or dialogue-driven storytelling, to bring us into a “La Ciénaga” (2001), and two personal fixations of mine, Alan Rudolph’s character’s point of view, to give us the simulation of being in a kind of “Choose Me” (1984), an exquisitely calibrated yet goofball screenplay present, often, in a space, or inside an insular subculture, or they may and touching meditation on mediated desire, and Claire Denis’ “Trouble trigger our memories through fragments. The first class on Jonathan Every Day” (2001), a vampire movie co-starring Vincent Gallo that is Glazer’s ‘Under the Skin’ touched on this in surprising ways. We talked almost blasphemous in its bloody zeal and pictorial ferocity. Bass shared about how that film so intricately, and disturbingly, schools us in her own enthusiasms. “Well, these are films from the last thirty years,” empathy, literally toward ‘the alien.’ Like a lot of the movies in the series, she tells me, “that amplify sensation to create experiential narratives, that one uses many deeply pleasurable trappings of genre, in that case instead of more standard, linear plot-based cinematic storytelling.” horror and documentary, so skillfully as a device to get us to swim in ambiguity, and create a real moral complexity.” “The body acts as a territory of desire, a vessel of transformation, a site of return, and a mode of resistance to cinematic capture,” Bass writes Each “New Sensory Cinema” has a weekly presentation by Bass as in her elevated introduction to the series. “Each movie offers a well. “The Tuesday evening public screening series is a long-running, provocation of the senses—devotion, entrapment, obliteration, ecstasy, wonderful collaboration between the Film Center and SAIC and other possession—in which the filmmaker pushes against the boundaries of academic institutions and invited professors,” she explains. “Several of54
SAIC’s departments—notably the Art History, exciting, visionary filmmakers, and their movies er came back in all excited, going ‘Yeah, let’s Theory & Criticism Department and my are ideal for the class, and I know they’ll go outside the fucking window!”‘ Fancher said department, the Film, Video, New Media, provoke discussion.” But male filmmakers are Scott’s “imagination is like a fucking virus, and Animation Department—teach a in this mix. “We won’t be trying to define a keeps growing and spreading and mutating. brand-new class in this same time slot each feminine aesthetic in the course, but I am Ridley’s mind is almost too fast for his own year. Like mine, these classes have in the interested in ideas of ‘The Female Gaze,’ good; very often, it pulled ahead of himself, at audience about forty enrolled SAIC students, brought up by Jill Soloway in her Toronto great speed. Then he’d tumble over it, ideas and because it doubles as a public series at International Film Festival lecture this past year. were pouring out of him so fast.” So, “Blade the Siskel, includes folks who buy a regular The talk is a great teaching tool, as well as an Runner,” you’ve seen it? In anticipation of the admission ticket because they want to see the important manifesto. In the class, we’ll look big-screen presentation of Scott’s latest “final” film in the wonderful cinematic environs of the at the power of the stories themselves, the version, I tried and tried to draw a consistent Siskel, take in a short lecture and perhaps method, and consider who is creating these impression of the matrices of seeing the film engage in a brief discussion afterwards. It’s a worlds and experiences, and what the in different versions in different formats on fun, mixed crowd. Professors pick the films, perspectives appear to be, how and what are different devices and inside different edifices. design the frame of the course, run each they rehashing or enveloping us, to consider.” Without watching more than one version again, Tuesday night class and lead discussion.” siskelfilmcenter.org/newsensorycinema with or without Scott’s inspiringly no-nonsense So it brings together your sensibility as a Review commentary. But Fancher’s testimony put it together, that palpable, sensual joy of filmmaker as well as a devoted film watcher? notion-made-manifest in every squiggle-filled “I teach another class called ‘Experimental Blade Runner: The Final Cut frame: what is “Blade Runner,” what is it about, Narrative’ at the Art Institute, and I make, It’s too bad she won’t live. But then again, who what does it mean? It is a manifestation of well, what you might call ‘experimental does? “The script took a year of rewrites to get Ridley Scott’s brain, it’s about Ridley Scott, narrative’ films and installations. I am ready,” Tom Shone wrote of “Blade Runner” it means that Ridley Scott has a singularly passionately behind innovation in narrative in “Blockbuster: How Hollywood Learned to feverish brain, still uncontained at seventy-nine, cinematic storytelling, it’s what a lot of my Stop Worrying and Love the Summer” (2004). where his name appears on a deluge of students are making, and my own films are “Fancher had done a good job in fleshing out projects each season as executive producer, for sure snow-globe worlds that often register Dick’s paranoiac novel, but it still read like a such as Kenneth Branagh’s “Murder on the as dreamy, mysterious and sensory.” stage play: there were few exteriors, and the Orient Express” redo, due in November and world his characters inhabited remained who, as director, has multiple projects mooted, Is it wrong to categorize that as a “female/ unexplored. One day…Scott asked him, not limited to his second sequel to “Alien,” feminine” instinct from the films here? ‘Hampton, this world you’ve created—what’s “Alien: Covenant,” which opens on May 19 (and Hittman, Tsangari, Martel, Denis, Hadzihalilovic, outside the window?’ Hampton admitted that a likely twenty-minutes-longer director’s cut to they’re all just great filmmakers who have he hadn’t a clue. Scott suggested he read follow). “Blade Runner” lives, Ridley Scott been allowed their voice/have asserted their ‘Heavy Metal’, the same comic Scott had used thrives. (Ray Pride) “Blade Runner: The Final directorial voice. “All those folks are indeed as inspiration on ‘Alien.'” “The next day, Fanch- Cut” opens Friday, March 24 at the Music Box.Béatrice Dalle in Claire Denis’ “Trouble Every Day” March 2017 Newcity 55
164 North State Street • Between Lake & Randolph FILM TOP 5 MARCH 3 - MARCH 30 1 Song To Song. Terrence Malick’s Austin-set musical romantic comedy and reported BUY TICKETS NOW at dance with the devil, at least two years in the w w w. s i s k e l f i l m c e n t e r. o r g /c e u f f editing, stars Michael Fassbender, Rooney Mara, Natalie Portman, Ryan Gosling, Patti Smith and Iggy Pop. Opens March 17 2 Twentieth Annual European Union Film Festival. Siskel. Chicago’s essential annual film survey this year premieres feature films from twenty-eight EU countries (including soon-to-quit Britain) including Sergei Loznitsa’s “Austerlitz,” Bruno Dumont’s “Slack Bay,” François Ozon’s “Frantz,” João Pedro Rodrigues’ “The Ornithologist,” Doris Dörrie’s “Greetings from Fukushima” and Ritesh Batra’s “The Sense of An Ending.” March 3 Blade Runner: The Final Cut. Music Box. The vocal harmonies of this Ukrainian quartet have a gorgeous, strident dissonance that’s strange and wonderful to Western ears. March 17 4 ATTENBERG. Siskel. Athina Rachel Tsangari’s stylized, comic yet gloriously distanced 2011 movie pits a dying architect father against his still-unformed daughter. There is a wealth of awkwardness. Strengths include an extremely specific, heightened sound design, as well as a song score that includes work by Suicide, even though twenty-three-year-old Marina is told, “you’re too young to like Suicide.” (Double-entendre present and accounted for.) “ATTENBERG” is more gestural than dialogue-driven, but the father has a speech about the failure of modern Greece that is as piercing and pungent as anything you hear on the streets of that battered land. March 11, 14 5 Raw. Music Box. Julia Ducournau’s idea-rich feral fable is a magnificently calibrated, shiveringly expressionistic slab of female body horror. As in the best work of David Cronenberg, we simultaneously witness ruin and flowering transformation. March 24
Live at The Book Cellar IN THE FORMER BOOKMAN’S ALLEY SPACE AT 1712 SHERMAN AVE, EVANSTONAri Herstand Local Author Night MARCH EVENTS“How To Make It in the featuring Joe Rulli, Monday, March 6, 6 pm Music Business” Aaron Lawler and Sandra Colbert Literaturlenz (“literary springtime”), a reading with leading young March 2, 7pm March 15, 7pm writers from Austria, Germany, and Switzerland, in English and German, in collaboration with the Goethe-Institut ChicagoJoe Bonomo David McAninch Wednesday, March 8, 6 pm Best-selling historical novelist Margaret George discusses“Field Recordings from the “Duck Season” her new novel, The Confessions of Young Nero, with Inside” with Dan Epstein, March 16, 7pm Northwestern University Classics Professor Francesca Tataranni“Big Hair and Plastic Grass” Monthly store book clubs: March 4, 6pm TallGrass Writers Guild Potluck Cookbook-of-the Month Club, The Very Short Book Club, and The Mortality Book Club Kevin Davis presents And Storytime every Saturday morning at 10:30! “The Promise of Spring”“The Brain Defense” March 18, 7pm MORE INFO AT March 8, 7pm WWW.BOOKENDSANDBEGINNINGS.COM Essay Fiesta! Benjamin Alire Saenz 224.999.7722 OR VISIT US ON FACEBOOK March 20, 7pm“The Inexplicable Logic of My Life” “From the Diary of Virginia March 9, 4pm Woolf” Performance! March 22, 7pm Nickolas Butler Jami Attenberg“The Hearts of Men” March 9, 7pm “All Grown Up” March 30, 7pmThe Kates! Musical Performance by March 10 & March 25, 7pm Jed LickermanJoseph Scapellato March 31, 7pm“Big Lonesome” March 11, 6pmGo to our website for event details, book clubs and more!Your Independent Book Store in Lincoln Square!4736-38 N. Lincoln Avenue, Chicago773.293.2665 • bookcellarinc.com
Lit The Violent City Murder, Mayhem, the Blues and a Poetic History of Chicago By Toni Nealie Murder is never far from the headlines in Chicago, whether it be violence in crime fiction, playing with the past and what the experts are reading. the shooting deaths of young people in impoverished neighbor- hoods, or the forty-fifth president threatening to send in the Feds and tweeting about the city’s crime status. Chicago jumped up to a “Chicago has a vibrant community of crime fiction authors, which is twenty-five-year high, with 762 homicides in 2016, according to the why we didn’t have to look far when booking our featured speakers. University of Chicago Crime Lab. We had the most murders of any From established New York Times bestsellers like Sara Paretsky and Michael Harvey to fresh new voices like Nic Joseph and Lucy Kerr, American city, although per capita we were sixteenth on the FBI’s Chicago is a hotbed for crime fiction talent,” says Kaye. “Chicago ranking. Most deaths were caused by guns, the victims mainly young African-American men in five of the poorest neighborhoods. provides no shortage of inspiration for writing mysteries and thrillers. The difference between the fiction and the reality varies book to Violence has always underpinned our city. It drove the native book, but most authors I know fictionalize events and characters for peoples out of the area, kept Al Capone in business and prevented the sake of story. As they used to say in my creative writing program, free movement of minorities about the city. Enforcers, both officially ‘What actually happened is not always as interesting as what could sanctioned and rogue, used billy clubs to keep black workers out of have happened.’” the workforce and to suppress the LGBTQ community. Punk gangs brutalized people in the 1980s and we’ve all heard about Command- Rader-Day adds that while contemporary times and crimes influence er Burge’s torture. Attacks by and on police are commonplace. We crime fiction, they also provide a marker for other writers to react to. hear less in the news about women assaulted and killed by intimate “While you see many cyber-crimes and conspiracies ripped from the partners, but according to the Coalition Against Domestic Violence, headlines, you will also see many shelves of ‘traditional’ or even what is known as ‘cozy’ crime—and the love of these kinds of books in 2014 there were almost 64,800 reported incidents of domestic violence and eighty-four deaths, including fifteen children. In 2016, is inspired by reality and a different kind of reader’s need for their crime novels to satisfy different needs.” Apparently, traditional and forty-nine domestic homicides were reported. cozy crime novels see that justice is done. In such noir times as This month, Chicago hosts a conference dedicated to murder in these, comforting reading is escapist and, to many, necessary. fiction and two books are coming out featuring the city’s harsh past, “Windy City Blues” by Renee Rosen and “A People’s History of Chica- “I love an unreliable narrator and believe that all first-person narratorsNewcity MARCH 2017 are, in a way, unreliable. I worry that so many unstable narrators will go” by Kevin Coval. create a backlash against unreliable narrators,” Rader-Day says. “Murder and Mayhem in Chicago” is a one-day event for crime-fiction fans, to be held on March 11 at the downtown Chicago campus of “Chicago’s crime-fiction scene is varied. Fictional crime in many ways suffers from having to make sense, while real crime is often Roosevelt University. Organized by publicist Dana Kaye and award-winning mystery author Lori Rader-Day, it will be the largest senseless.” crime fiction event to be held in the city. Aimed at aspiring authors hoping to learn more about the craft, as well as crime fiction readers, Kaye says crime fiction has changed to meet updates in technology “You can’t have someone stranded and unable to call for help it includes sessions on genre conventions, making a mystery,58
because everyone has a smart phone. I the city was fraught. There were places that LIT TOP 5don’t have formal stats, but anecdotally, I’ve blacks just couldn’t go. Music became a 1 Roxane Gay: “Difficultseen a shift in the types of crimes featured passport to acceptance by white audiences Women.” Senn High and the whites who ventured to black clubs School Auditorium.on in the genre. Books centered around The award-winning author of loved the music.” She was shocked by the “Bad Feminist” and “Ancyber-terrorism, hacking and online Untamed State” reads and terrible housing conditions on the South discusses her new book withpredators have been filling the shelves. Britt Julious, hosted by Women Side. “The kitchenettes had no hot water and Children First. March 15,There’s also been a surge in grip lit 7pm, $30 including book. and no heat. There were rats. It was a(page-turning suspense novels, usually 2 Augusten Burroughs: horrible way to live.” “Lust and Wonder.”featuring unreliable female narrators), first Music Box Theatre. The bestselling author ofwith ‘Gone Girl’ and ‘Girl on the Train,’ Rosen is a big advocate for a blues museum “Running with Scissors” and “Dry” reads from his newfollowed by ‘The Widow’ and ‘The Couple in Chicago, because it is such an important memoir, hosted by The Book Cellar.March 29, 7pm, $28Next Door.’” part of our history and so much contempo- including book.Renée Rosen’s latest historical novel also rary music is influenced by the blues, 3 George Saunders: “Lincoln in the Bardo.”features violent crime, but “Windy City Blues” including hip-hop, house music and rap. Music Box Theatre. MacArthur “We need to keep it alive. How many people Fellow and author of eightis mainly a celebration of the city’s famed previous books, Georgeblues history. It follows the fortunes of Chess know about Record Row? How many Saunders is in conversation people know that The Rolling Stones got with Peter Steeves. BookRecords and musicians such as Muddy signing follows. March 2, 7pm,Waters, Howlin’ Wolf, Chuck Berry and Etta their name from Muddy Waters?” $25-$30 including book.James. Muddy Waters also features in Kevin Coval’s 4 Nickole Brown and Aracelis Girmay.From three points of view, it tracks through a poems “A People’s History of Chicago,” Stage Two, Columbia Collegetime when Jews were marginalized and the along with Gwendolyn Brooks, Harold Chicago. A reading by poets Washington, Studs Terkel, Al Capone and Nickole Brown and Aracelisnation’s South was segregated. Leonard Girmay.March 15, 5.30pm, freeChess tells the story of the record industry. Chief Keef. Coval has written seventy-seven and open to the public. poems for the city’s seventy-seven neighbor-Fictional Red Dupree represents the 5 National Youth Poet hoods, following in the tradition of Howard Laureate Convocationmusicians who came up from the Delta. featuring Jacqueline Zinn’s famous “A People’s History of the Woodson. Poetry Foundation.Leeba Groski, a white woman from an Jacqueline Woodson, author of United States.” the National BookOrthodox Jewish family, crashes throughmany boundaries when she falls in love with It begins with “Shikaakwa, before 1492”Red, at a time when race mixing is taboo,and pursues a songwriting career in an era home of Chippewa, Potawatomi, Kickapoo, Ho-chunk, Ottawa, Miami, Ioway, Sauk, Fox,when women were encouraged to stay Blackhawk, Odawa and Illinois “beforehome. The couple go south to take part in manicured lawns / & forced removal.” Infreedom rides, and Rosen’s description oftheir bus surrounded by white segregation- “lasalle Wrote it Down Wrong, 1667” Coval writes that “Chicago is malignant, a mass /ists is terrifying. of machinery built upon mass graves / theViolence is not the focus of “Windy City beginning of a long death march.” He carriesBlues,” but it is shockingly present through- on through time to the White City when “beneath the veneer lurked murder” and on toout the book. note the men lost when the Chicago River’sAfter her editor suggested Chicago Blues as flow was reversed, the deaths of 844 people in the Eastland ship upheaval, mostlya book idea, Rosen threw herself into aresearch trip. She went to New Orleans and immigrants, including the author’s great-grandmother. It pays tribute to thedrove the Blues highway, visited StaxRecords, Sun Studio and the National Civil workers, poor people and people of colorRights Museum in Memphis. It was a moving whose stories are often overlooked, as well as musicians such as Sun Ra, Ron Hardyexperience. The writer says this is a more and Kanye. He honors “those who died / inintense book than her previous historicnovels because of its focus on segregation, the 1937 memorial day massacre / when cops shot steel-workers,” recalls theracism, anti-Semitism, the injustices in the assassination of Rudy Lozano, the shootingsmusic industry and payola. of Fred Hampton and Rekia Boyd, andIt was coincidence that Rosen wrote this protests claiming genocide is takingbook at a political moment when the veneer place—“again & always there is Black death & today / it receives its proper name, it’s onehas fallen off our democracy. “Tensionsaround race relations became more heated true / name.”the closer to publication date,” Rosen says.“Chicago is still a segregated city—that’s no Like real life Chicago, there is too much violence, but there is so much else to thenews. Writing this book really opened myeyes on how little progress has been made. city we love—if only #45 could see it. It is aIt gave me a better appreciation for what the city built by hard-working people and full of MARCH 2017 Newcity wonderful lives. Coval says, “don’t ask me toGreat Migration was like for people.” leave / don’t force me to go / …Chicago youChicago was not a welcoming place for have my heart.”black migrants or the Jewish community,and an alliance was formed between the twogroups. “Maxwell Street and the Black and Windy City Blues by Renée Rosen. PenguinTan Clubs were the only places where races Random House, 480 pages, $16. Launchcould mix. Chicago was a really hostile place party and a night of blues history, music, aand even though Jim Crow was officially in harmonica workshop and tour of Chessthe south, crossing over to the North Side of Records, March 3, 7:30pm, Willie Dixon’s 59
HEAR IT FIRSTApril 3 April 6–11 Prokofiev Symphony No. 5HARRIS THEATER FOR MUSIC AND DANCE NOTE LOCATION & Dvořák Cello Concerto Chicago Symphony OrchestraChicago Symphony Orchestra’s MusicNOW:Illuminating Boulez Charles Dutoit conductorMusicians from the Chicago Symphony Orchestra Truls Mørk celloCliff Colnot conductor STRAVINSKY Funeral SongBOULEZ MémorialeBALTER New Work [UNITED STATES PREMIERE] [WORLD PREMIERE, MUSICNOW COMMISSION] DVOŘÁK Cello Concerto PROKOFIEV Symphony No. 5BOULEZ 12 NotationsOLIVEROS For Two or Three Instruments [WORLD PREMIERE, MUSICNOW COMMISSION]BOULEZ MessagesquisseELIZABETH OGONEK AND SAMUEL ADAMS CHARLES DUTOITCSO.ORG • 312-294-3000 • GROUP SERVICES 312-294-3040 Artists, prices and programs subject to change. CSO Tuesdays media sponsor: CSO Tuesdays sponsor:
Music Tenor Lawrence Brownlee as Charlie Parker The Bird Sings MUSIC TOP 5 Charlie Parker Goes to the Opera 1 Devandra Banhart. Thalia Hall. The rakish By Dennis Polkow Venezuelan-American singer-songwriter, bilingualNewcity March 2017 “I’m still enthralled with Charlie Parker’s Curiously, although the 2015 opera “Charlie and pansexual, is Lou Reed’s playing,” a broadly smiling, twinkle-in-his-eye Parker’s Yardbird” was commissioned by spiritual heir. March 6 then seventy-two-year-old Dizzy Gillespie Opera Philadelphia, it has a plot premise admitted to me back in 1990, thirty-five years connection to Chicago, where the work will be 2 Kneebody. Constellation. after Parker’s death at age thirty-four. “Even performed March 24 and 26 by Lyric Unlimited Art-rock band? Pomo after all these years, it’s such a great thing. in partnership with Harris Theater. “Gunther chamber ensemble? Postbop From the moment I first heard him I said, Schuller and I were together in a taxi cab in jazz quintet? Depends when ‘Yeah, that’s how it’s done.’ They talk about Chicago a couple of years ago and he said you catch them. And they’re his attitudes and drug habits, his philandering something about Charlie Parker,” relates well worth catching. March 23 around with women: everything but his Swiss-American composer and saxophonist enormous contribution to music.” Daniel Schnyder, the composer of “Yardbird.” 3 Dakhabrakha. Old Town Music of both composers was being featured School of Folk Music. For Jazz Showcase founder and longtime at a Chicago Jazz Philharmonic concert, and The vocal harmonies of this Parker devotee Joe Segal, Parker’s music was Schnyder asked Schuller, who knew Parker, Ukrainian quartet have a everything. “The first Parker I ever heard was a for any stories he could recall. “He told me, gorgeous, strident dissonance recording coming out of somebody’s window,” ‘He always wanted to write this big piece of that’s strange and wonderful Segal recalls. “I couldn’t figure it out: I thought symphonic music and wanted me to help him to Western ears. March 31 the way he was playing was backwards. It was and, we were hanging out together at Nica’s only much later that the light went on. He was apartment.’ I couldn’t believe this: he told me 4 Pieta Brown. SPACE. one of the first to cross bar-lines, to invert chord the story of the opera! He didn’t know about The indie-folk singer- patterns, to take a melody and play above it, the opera, nothing. He was just sort of telling songwriter has been around creating new melodies on it. Charlie Parker was me that as a witness that this really happened a while, but her voice remains the epitome of the bebop movement, the guy and I was kind of shocked. Wow.” both enduringly original and who put it all together. You had Thelonious eternally ethereal. March 15 Monk, Dizzy, Charlie Christian, all of whom The idea for an opera about Parker came to were doing parts of it, but Bird was the Schnyder when he heard tenor Lawrence 5 Joey Alexander. City amalgamation of the movement, the zenith.” Brownlee give a recital in New York. “He was Winery. Musical prodigies aren’t as common as they once were; but this fourteen- year-old virtuoso jazz pianist is the real deal. March 2461
singing gospel songs at Lincoln that: ‘Ornithology’ is based onCenter and we met afterwards ‘How High the Moon.’ The bandand this idea came to me: let’s do would play a song and he wouldsomething about an African-Ameri- actually develop another song oncan hero, but not like Martin Luther top of that song.King or something like that, but amusical hero.” “Think about growing up in Kansas City during the time of Jim CrowOne decision that Schnyder, a laws and the really dire andsaxophonist himself, quickly came dangerous situation Africanto was that though Brownlee would Americans had to live under. Andsing as Parker, there would be no yet here you have this extraordinaryattempt to approximate Parker’s cultural and musical outburst,playing. “The signal coming out of bebop, where the African-AmericanCharlie Parker’s horn is so strong, people are inventing somethingyou cannot duplicate that in a which is technically very difficult tomovie, and for sure, not in an opera. achieve, is musically on a very highYou can only reflect on it. You’re not level, and which is aesthetically theirconfronted, like the movie ‘Bird,’ own and something that nobodywith ‘Okay, I know the original, and else does. And that also boostsnow here we have a copy of the self-esteem, obviously, and that isoriginal which is not satisfying. also reflected in the opera. ‘Like theThat’s the big danger. The other civil rights movement, we don’tdanger is having an opera that has want to take shit anymore. We arenothing to do with Charlie Parker’s doing our own thing and we wantmusic. That’s also a no go. You to collect royalties and we want tohave to walk a fine line there and be full citizens of the United Statesthink about how to incorporate the with all of the same rights’.”essence of Charlie Parker’s musicallife and musical ideas? How can Another issue that “Yardbird”you incorporate that in an opera addresses is the subsequentwithout duplicating his work?” musical styles that were influenced by Parker. “It’s all over the place,Central to the narrative flow of and it also uses grooves thatthe work were librettist Bridgette weren’t developed until afterA. Wemberly’s contributions to Charlie Parker but which showthe process. “She came up with the heritage of Charlie Parker:concentrating on the relationships Miles Davis and also the heritageof Charlie Parker to his girlfriends, of Dizzy incorporating Latin musicwives—even his mother—to into jazz. Automatically with everyreflect on his personality and his great artist, every religion, youcharacter. There was otherwise a have a lot of people who try to livebig danger with a Charlie Parker up to their idol but never reallyopera that you have six jazz guys develop and do something on theiron stage—Max Roach, Dizzy and own. Coltrane, or Cannonball, theya couple of guys—talking to each take something from Parker andother about jazz music. That would add to it and develop it into theirbe a really boring opera, and own language.ridiculous because you wouldhave all these male voices.” “And then there are people that are fantastic that were just soOne of the central issues of impressed by Charlie Parker“Yardbird” is what was considered and actually copied the music likenew music in the mid-twentieth Sonny Stitt and sometimes it’scentury and the ramifications hard when you listen not to think,those cultural perceptions can ‘Is that Charlie Parker?’ It’s sohave. “For a jazz musician in the perfect, these were artists so takenforties, new music was bebop. with it they never evolved from it.For a classical musician at that Even a guy like Lou Donaldson istime, it was probably Bartók and very close, ‘What was that? No,Stravinsky—at least for Parker, not Parker.’ That doesn’t have tothose were very important people. be a bad thing. When you haveThere is a story that he always someone who is so influential andread scores in the band bus and building on the entire traditionthen played elements out of the everybody is building on, there isscore in his solos. I have a couple almost no way that you cannot beof bootleg records where he plays influenced by Charlie Parker.”‘Pulcinella’ and ‘The Rite of Spring,’where he plays and absorbs all this March 24, 7:30pm and March 26,music and uses it on top of each 2pm at Harris Theater, 205 Eastother. That was also the way he Randolph, (312)827-5600,composed, a lot of his tunes do lyricopera.org.
PASSION. DECEPTION. Everyone is talking about FORBIDDEN LOVE. THE BELOVED TELENOVELA COMES TO THE GOODMAN STAGE— WITH A PROVOCATIVE TWIST.“TERRIFICALLY ENTERTAINING” Written and directed by Young Jean Lee“A THEATRICAL ROLLERCOASTER” “ 1/2”–THE LOS ANGELES TIMES (out of four) fascinating and hugely arresting – Chicago Tribune “Stirring things up— on stage and in the minds of its crowds” – Stage and Cinema On Stage Through March 19, 2017 Tickets start at just $20 steppenwolf.org | 312-335-1650 BY KAREN ZACARÍAS DIRECTED BY JOSÉ LUIS VALENZUELAMARCH 11 – APRIL 16 TICKETS START AT $20312.443.3800 | GoodmanTheatre.org Corporate Production SponsorGROUPS OF 10+ ONLY: 312.443.3820 Media Partner
StageNewcity MARCH 2017 Transform and Emjoy Gavino, Phillip Edward Van Lear, Avi Roque and Michael HalberstamTranscend with the cast of “Saint Joan,” a staged reading at Writers Theatre with Chicago Emjoy Gavino and the Chicago Inclusion Inclusion Project/Photo: Joe Mazza at Brave Lux, Inc.Project Are Breaking Boundaries By Irene Hsiao Two years ago, actress Emjoy Gavino, whose credits include person is a dreamer’ or ‘this person is a dancer.’ It would be a giant roles at Court, Goodman, Steppenwolf, Remy Bumppo, Lookingglass ensemble cast, which is what Chicago is known for.” And Gavino and numerous other Chicago stages, was having a familiar grouse with gathered an ensemble Chicago loves to watch—not only Thornton but her pals. They were sought-after actors, yet they were frustrated with other Chicago theater luminaries, including Elana Elyce, Anish the distinct lack of representation in the theater. As Gavino states Jethmalani, Sandra Marquez and Behzad Dabu. “Half the cast were bluntly, “There are truly good actors who have only been asked to play celebrities from different theater companies, from big houses, that terrorists or people from Africa and that isn’t right.” you’d never seen onstage together before.” So Gavino pitched a gig. “Let’s do one reading and invite a whole But even as the work started to take shape, Gavino started to wonder bunch of industry people and show them we’re all playing things we whether one reading could be enough. “As donations started coming in should be playing, but it has nothing to do with what country we look from people who didn’t even have the money to be giving, we started like we’re from,” she recalls. “That sounded cheap!” Little did she know to realize how important what we were doing was to the community,” the event would whip up its own momentum to become the Chicago she says. “I think people grabbed onto the idea that we were showing Inclusion Project, exploding in under two years from a one-time reading and not telling. We were paying actors, we were giving them jobs, we into a nonprofit organization that partners with theater companies to were giving them opportunities in front of future employers. Everybody stage readings, advise on casting and host conversations about in the collective emailed every director and casting person and artistic diversity within the theater community. “It is continuing to turn into director they knew and we ended up getting 150 people to the reading, something that the community seems to need,” she notes. with fifty directors, artistic directors and casting people.” “We started as a group of actors who wanted to do readings of classic The conversation that followed the reading galvanized a varied and contemporary plays cast nontraditionally as a response to not being powerful response. “In the last year and a half, I’ve met with about thirty called in for those roles and not being able to see this on a regular casting people, directors and artistic directors. Everyone says they basis.” Gavino and her friends started keeping a list of their dream believe in inclusion but no one knows how to talk about it,” she says. In plays. But it wasn’t until she became a casting director at The Gift the coming year, Gavino wants to extend the conversation to designers, Theatre that those dreams began to manifest. “I asked [Gift Theatre critics and other voices in the community. In the meantime, the Chicago artistic director] Michael Patrick Thornton, because I knew if it was just Inclusion Project has presented work in collaboration with Writers a bunch of actors listing plays on a Google doc, nothing would ever Theatre and TimeLine Theatre. Recently they’ve worked with Back happen. I was trying to bully Michael into making it happen and he said, Room Shakespeare Project, partnered with Chicago Cultural Alliance to ‘This all sounds great. I’m not going to do it for you, but I will help you.’” present pay-what-you-can or free readings in museums and consulted on casting for American Theater Company, The Hypocrites and Haven Bolstered by Thornton’s confidence, Gavino selected William Saroyan’s Theatre. Pulitzer Prize-winning “The Time of Your Life” and phoned Victory Gardens, where then-program manager Monty Cole introduced her to “It’s art as activism,” says Gavino. “I thought it was just going to be my Chay Yew, who agreed to direct the reading. “‘Time of Your Life’ is friends doing readings but it feels really political and essential right now. about the American Dream. It’s set in the 1930s but there’s very little in The power of theater is that, as long as you have capable storytellers, the script about physical appearance or ethnicity, other than ‘this you can make it whatever you want it to be. As an artist you have a64
responsibility to transform and transcend.” though the lack of exploration into the necessity STAGE TOP 5 Reviews of such a figure feels like a concession to the 1 The Wiz. Kokandy troubled Yankee conscience. In 2013, the Productions. Director Lili-Anne Brown’s gritty revival Alabama parole board issued pardons for the purports to put the focus on “what it means to live with The Scottsboro Boys three Scottsboro boys who had not already intelligence, compassion and courage in today’s tough cities.” Porchlight Music Theatre been pardoned or had their convictions Opens March 5 Just a few weeks ago it was revealed that in a overturned. The last of the nine died in 1989,with the cast of “Saint Joan,” a staged reading at Writers Theatre with Chicago 2008 interview Carolyn Bryant, the woman nearly twenty-five years prior. The impact of Inclusion Project/Photo: Joe Mazza at Brave Lux, Inc. whose accusation of flirtation lead to the death “The Scottsboro Boys” lands like a heavy thud by lynching of Emmett Till, had admitted that against the locked doors of oppression, in a she lied about Till’s advances. The revelation place where the sun has still yet to shine on so comes more than fifty years after Till’s murder. many dreams. (Kevin Greene) Porchlight Music The admission has a double impact. First there Theatre at Stage 773, 1225 West Belmont, is the lie, one with terrible consequences that (773)327-5252, porchlightmusictheatre.org, can never be undone. The second is the $45-$51. Through March 12. proportionate punishment to the “crime” itself. 2 10 Out of 12. Theater Wit. Anne Washburn’s In “The Scottsboro Boys,” a 2010 musical and Straight White Men near-perfect re-creation of a technical rehearsal promises to the final collaboration between John Kander Steppenwolf Theatre Company also offer a moving tribute to the complexity and beauty of and Fred Ebb currently receiving its Chicago If you think the pre-show music is too loud human endeavor. Opens March 3 premiere at Porchlight Music Theatre, a when you enter the theater for Steppenwolf’s character alludes to a truism as relevant today new production of “Straight White Men” from as it was in the height of the Jim Crow era: New York playwright Young Jean Lee—you are being black in America is a crime in and of itself correct. The volume is intentional. As two and there seems to be no punishment too hefty gender-non-conforming performers, Elliott to atone for it. Performed in the style of a Jenetopulos and Will Wilhelm, explain when the minstrel show, “The Scottsboro Boys” is an act play begins, how awful it must feel to be in a of reclamation. Stock characters Mr. Bones space that does not take your thoughts and (Denzel Tsopnang) and Mr. Tambo (Mark J.P. feelings into account. (To be fair, they do have Hood) join nine “performers” each playing one earplugs available.) What makes “Straight White of the Scottsboro boys. They are lead by an Men” so different from the hundreds (or 3 truth and reconciliation. Interlocutor performed by Larry Yando, the only thousands) of other plays about, well, straight Sideshow Theatre Company. Five devastating conflicts, thirty white actor in the show. Yando is pitch-perfect white men, is that it treats its characters like years, one room and one burning question: can as the benevolent master who frames the glory subjects to be studied. To wit: before each reconciliation be found when the reluctant truth is finally days of the South through a lens of rural utopia, scene, Jenetopulos and Wilhelm lead the actors spoken? Opens March 12 intentionally undermining the tragedy of the onstage and pose them like department-store performance he is ostensibly in charge of telling. mannequins. Their reality is just as artificial as His performers, in turn, lay on the shtick though anyone else’s. Lee, who also directs, is not as the show progresses the “performance” writing a play in which gender, race and sexual gives way to the bleak truth of the story they’re orientation are default settings. In fact, her telling. Kander and Ebb locate a deeply attitude might best be described as uncomfortable ironic contrast in their musical “anthropological.” Though it is not without numbers: early on a pair of police officers sing empathy. “Straight White Men,” which Lee an energetic tune to a thirteen-year-old about rewrote and revised for this production, revolves his impending death by electric chair. Tonally, around a family gathering. It’s Christmastime the musical lands in an uncomfortable gray area, and retired widower Ed (Alan Wilder) has his as evidenced by its brief run on Broadway. three sons home for Christmas. Well, he has 4 The Hard Problem. Court Theatre. Tom Discomfort seems to be the objective, a noble, two sons home for Christmas: Drew (Ryan Stoppard’s highly anticipated new play introduces Hilary, a if not very financially fruitful, one. Still, there is Hallahan), a successful novelist, and Jake young psychologist who struggles to bear the burden of pleasure in the performances. Of all the (Madison Dirks), a recently divorced banker. her regrets as she works through a troubling issue in her excellent voices, heard frequently in solo and in Ed’s third son, Matt (Brian Slaten)—once a fiery, research. Opens March 9 harmony, James Earl Jones II’s has the polish of brilliant activist out to save the world—has been Broadway. Stephen Allen (returning to living at home and working a temp job for a Porchlight after his turn as Benny in “In The local nonprofit… for reasons that nobody quite Heights”) and the young Cameron Goode bring seems to understand. Even though these men all the glory of a Sunday morning with voices communicate almost entirely through rough- that stretch to the heavens before tumbling housing and goofy games—like overgrown down gracefully to the reality of the god-fearing children—they’re still about as “woke” as they South. While the rest of the cast does an could possibly be. For instance, the boys were admirable job, Izaiah Harris seems to be the raised playing games like “Privilege,” a only one with true mastery of Breon Arzell’s bastardized version of “Monopoly” where they nimble choreography, which ranges from tap to are penalized for their whiteness/maleness/ 5 Picnic. American Theater Company. In this stomp. “The Scottsboro Boys” is not perfect. straightness. They understand the complicated, reimagining, ATC artistic MARCH 2017 Newcity director Will Davis puts William The distinction between performance and story problematic role that they play in society. This Inge at the center of his Pulitzer Prize-winning play, animating can be blurry, especially when it comes to Larry play is concerned with something more what is both sacred and Yando’s shifting shades of oppression. And slippery: straight white men who understand while the show’s irony is usually very clear, the that they are, in so many ways, a burden to presence of a religious moral clause (don’t lie progress and are finding it difficult to live their because bad things happen to liars) is left lives accordingly. (Alex Huntsberger) largely unchecked despite the show’s Steppenwolf Upstairs Theatre, 1650 North tendencies to present hypocrisy and injustice Halsted, (312)335-1650, steppenwolf.org, baldly. The presence of a white savior (and a $20-$89. Through March 19. Jewish one at that) is turned slightly on its head 65
By David AlvaradoLife is BeautifulMARCH 2017 Newcity66
SEASON SPRING SERIES MARCH 16–19 BREATHTAKING AND BOUNDLESS. Four evocative works by three remarkable choreographers. CRYSTAL PITE’s Solo Echo LUCAS CRANDALL’s Imprint Two Works by NACHO DUATO Jardí Tancat Multiplicity. Forms of Silence and Emptinesshubbardstreetdance.com/springPerforming at Season Sponsors Series Sponsors Sara Albrecht Lead Individual Sponsor of Jardi Tancat by Nacho Duato Official Provider of Official Official Diversity Partner Richard L. Rodes, and Physical Therapy Health Club Media Sponsor R. Penny Rodes DeMott Lead Individual Sponsors ofHubbard Street Dance Chicago in Crystal Pite’s Solo Echo. Photo by Todd Rosenberg. Nacho Duato Masterworks
NOWAT THE MCATUESDAYS ARE FREEFOR ILLINOISRESIDENTS!(Open until 8 pm) MERCE CUNNINGHAM: COMMON TIME Through Apr 30 RIOT GRRRLS Through Jun 18 TESSERACT Charles Atlas/Rashaun Mitchell/Silas Riener Mar 23–25MUSEUM OF Merce Cunningham and Carolyn Brown performing Summerspace (1958),CONTEMPORARY ART mcachicago.org/now Sogetsu Art Center, 1964. Courtesy of Sogetsu Foundation.CHICAGO #mcachicago Charles Atlas/Rashaun Mitchell/Silas Riener, Tesseract. Pictured from left to right: Rashaun Mitchell, Cori Kresge, Melissa Toogood, Silas Riener, Kristen Foote, and David Rafael Botana. Photo: © Mick Bello/EMPAC. Judy Ledgerwood, Sailors See Green, 2013. Oil and metallic oil on canvas. Collection Museum of Contemporary Art Chicago, gift of Katherine S. Schamberg by exchange, 2014.3 © 2013 Judy Ledgerwood. Photo: Nathan Keay, © MCA Chicago. Merce Cunningham: Common Time is organized by the Walker Art Center with major support from the Barnett and Annalee Newman Foundation and the Andy Warhol Foundation for the Visual Arts. Generous support is also provided by Agnes Gund and the Roy Lichtenstein Foundation. Merce Cunningham: Common Time is curated by Fionn Meade and Philip Bither with Joan Rothfuss and Mary Coyne. Lynne Warren is the MCA Coordinating Curator.
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